Paul Rebeyrolle (1926-2005)
La punition (Natures mortes et pouvoir), 1975
Technique mixte sur toile
Mixed media on canvas
195 x 130 cm - 76 3/4 x 51 1/8 in.


    Notes:
  • Provenance :
    Galerie Maeght, Paris
    Collection particulière, Paris

    Exposition :
    Saint-Paul-de-Vence, Fondation Maeght, Paul Rebeyrolle, 15 avril-25 juin 2000, décrit et reproduit sous le n°18 pages 66 et 67 du catalogue de l'exposition


    “ Avec la série « Natures mortes et pouvoir » peinte entre 1975 et 1978, « Paul Rebeyrolle, écrit Carlos Franqui, ne nous montre pas le pouvoir vu d’un haut. Ni la solitude du pouvoir. Ni la corruption du pouvoir. Ni l’extravagance et la fascination du pouvoir. Il montre les conséquences et les effets du pouvoir. Du pouvoir vu d’en bas, depuis ceux qui les subissent. Le pouvoir qui détruit la vie, la terre, les hommes. Sans écologie ni Rousseauisme. »
    Le pouvoir punit, condamne, oppresse, emprisonne, torture et tue. À cette furieuse vérité, le peintre ajoute la peinture ; la peinture dans la matérialité et dans toute sa violence parce que le sujet est violent. Le pouvoir assassine la nature, bleus et verts disparaissent. La terre devient aride et stérile, la mort prend possession du paysage. Le pouvoir conditionne, manipule les cervelles ; les entrailles des moutons subissent de terribles mutations.
    Face à tous les pouvoirs, Rebeyrolle oppose le pouvoir de la peinture. Ce faisant, il inscrit son geste dans la lignée de celui de Courbet dont il dit : « grâce à lui commence, je crois la peinture moderne- celle où la recherche de la vérité compte plus que les conventions, celle où le "joli" cesse de masquer l’essentiel, celle où la liberté compte ». ”

    Michel Foucault in Paul Rebeyrolle, catalogue de l’exposition à la Fondation Maeght, Saint-Paul-de-Vence, 2000

    Along with “Natures mortes et pouvoir” painted between 1975 and 1978 “Paul Rebeyrolle”, writes Carlos Franqui “does not show us the power of seeing from a height. Nor the solitude of this power. Nor the corruption of power. Nor the extravagance and fascination of power. He shows the consequences and effects of power. Power as seen from below, from the point of view of those submissive to it. Power which destroys life, the Earth, and people. Without ecology or Rousseauism”.
    Power punishes, condemns, oppresses, imprisons, tortures, and kills. The painter adds paintings to the furious truth. Power assassinates nature, blues and greens disappear. The Earth becomes arid and sterile : death takes hold of the land. Power conditions, manipulates the brain ; sheep’s entrails submitted to terrible mutilations.
    In the face of this power, Rebeyrolle, opposes the power of the painting. By doing this, he engraves his actions, in the style of Courbet of whom he says : “it begins thanks to him, modern painting – where the search for truth counts for more than tradition, where the “beautiful” ceases to mask the essential, where freedom counts”.

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